We, DATEAGLE ART (with ‘we’, ‘our’ or ‘us’ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website (the “Site“). This policy applies to information held about all persons about whom DATEAGLE ART holds information.  By ‘information,’ we mean personal information about you that we collect, use, share and store.


This Privacy Policy statement explains our data processing practices. By using our website or by providing any personal information to DATEAGLE ART, you consent to the collection and use of your personal information as set out in this statement. This Privacy Policy also provides information on your legal rights in relation to your Personal Data.


Last Updated 9th June 2019





We collect and process your Personal Data in accordance with applicable laws that regulate data protection and privacy. This includes, without limitation, the EU General Data Protection Regulation (2016/679) (‘GDPR’) and the UK Data Protection Act 2018 (‘DPA’) together with other applicable UK and EU laws that regulate the collection, processing and privacy of your Personal Data (together, ‘Data Protection Law’).





3.1 We may collect and store the following types of information about you when you use the Site or by corresponding with us (for example, by e-mail). This includes information you provide when registering to use the Site or sharing any data via our social media functions. The Personal Data about you that we collect and use includes the following:


(a) Your name;

(b) Your contact information such as your address, email address, telephone number, billing address and delivery address (if applicable);

(c) If applicable, your payment details/ financial data;

(d) Information from accounts you link to us (e.g. Facebook, Twitter, Instagram);

(e) Information in relation to your purchase of our products in our shop or use of our services;

(f) Information about your personal preferences;

(g) Information related to your attendance of, and interest in, DATEAGLE ART’S exhibitions, events, artists, artworks, and services.


3.2 Please note that if you do not provide Personal Data when we ask for it, it may delay or prevent us from providing products or services to you.





4.1 We collect most of this Personal Data directly from you – in person, by email, telephone, post, through our social media, and via our website e.g. when you contact us with a query, make a purchase of any of our products or services, or ask that you are added to our mailing list. However we may also collect Personal Data from from articles or other information that has been published about you in the media.





5.1 Please ensure that any Personal Data you supply to us which relates to third party individuals is provided to us with their knowledge of our proposed use of their Personal Data.





6.1 Under Data Protection Law, we can only use your Personal Data if we have a proper reason for doing so e.g.:


(a) To comply with our legal and regulatory obligations;

(b) For the performance of a contract between us or to take steps at your request before entering into a contract;

(c) For our legitimate interests or those of a third party (where we have a business or commercial reason to use your Personal Data, so long as this is not overridden by your own rights and interests, including ensuring the successful continuing our business operations, updating our client and contact records, improving our offerings, marketing our offerings and preventing fraud);

(d) Where you have given consent.


6.2 If we process sensitive data as referred to above we will only do this with your explicit consent; or, to protect your vital interests (or those of someone else) in an emergency; or, where you have already publicised such information; or, where we need to use such sensitive data in connection with a legal claim that we have or may be subject to.


6.3 We may use your Personal Data for one or more of the following purposes:


(a) To fulfil requests, including providing products or services to you;

(b) Maintaining business operations, including updating client and visitor records, identifying areas for operational improvement, such as improving efficiency, training and quality control, getting to know you and your preferences in order to provide you with a more tailored service;

(c) Marketing, including adding you to our mailing list and providing you with direct marketing communications about what we are doing as well as products, services and/or events which may be of interest to you by post or phone. If required under applicable law, where we contact you by SMS, email, fax, social media and/or any other electronic communication channels for direct marketing purposes, this will be subject to you providing your express consent. You can object or withdraw your consent to receiving direct marketing from us at any time, by contacting us at;

(d) To enforce and/or defend any of our legal claims or rights;

(e) For any other purpose required by applicable law, regulation, the order of any court or regulatory authority.





7.1 Except as expressly set out in this policy we will not sell, distribute or lease your personal information to third parties unless we have your permission or are required by law to do so. We will only share your Personal Data as set out in this section 7, including sharing with:


(a) Third parties we use to help deliver our products and services to you, e.g. payment service providers and delivery and shipping companies;

(c) Other third parties we use to help us run our business;

(d) Third parties approved by you, e.g. social media accounts you choose to link your account with us to.


7.2 We only allow our service providers to handle your Personal Data if we are satisfied they take appropriate measures to protect your Personal Data. We also impose contractual obligations on service providers to ensure they can only use your Personal Data to provide services to us and to you.


7.3 We may also share personal information with external auditors in relation to the audit of our accounts, and we may disclose and exchange information with law enforcement agencies and regulatory bodies without telling you to comply with our legal and regulatory obligations if we are required by law to do so.


7.4 We may also need to share some Personal Data with other parties, such as potential buyers of some or all of our business or during a re-structuring. Usually, information will be anonymised but this may not always be possible. The recipient of the information will be bound by confidentiality obligations.


7.5 We may also need to share some Personal Data with other business entities – should we plan to merge with or be acquired by that business entity, or if we undergo a re-organisation with that entity.





8.1 A cookie is a text file that downloads small bits of information to your device.  Our website doesn’t uses cookies, however our Site may contain links to other websites who do, including via our social media buttons.


8.2 Our website may contain links to other websites of interests. While we try to link only to website that share our respect for privacy, we are not responsible for the content, security, or privacy practices employed by other websites, and a link does not constitute an endorsement of that website. Once you link to another website from our Site, you are subject to the terms and conditions of that website, including, but not limited to, its Internet privacy policy and practices. Please check these policies before you submit any data to these websites.





9.1 DATEAGLE ART only retains Personal Data identifying you for as long as you have a relationship with us, as is necessary to perform our obligations to you (or to enforce or defend contract claims), or as is required by applicable law. This will involve us periodically reviewing our files to check that information is accurate, up-to-date and still required.


9.2 Personal Data we no longer need is securely disposed of and/or anonymised so you can no longer be identified from it.





10.1 We endeavour to take all reasonable steps to protect Personal Data from external threats such as malicious software or hacking. However, please be aware that there are always inherent risks in sending information by public networks or using public computers and we cannot 100% guarantee the security of all data sent to us (including Personal Data).





11.1 In accordance with your legal rights under applicable law, you have a ‘subject access request’ right under which you can request information about the Personal Data that we hold about you, what we use that Personal Data for and who it may be disclosed to as well as certain other information. Usually, we will have a month to respond to such a subject access request.


11.2 Under Data Protection Law you also have the following rights, which are exercisable by making a request to us in writing:


(a) To request access to or a copy of any Personal Data which we hold about you;

(b) That we rectify Personal Data that we hold about you which is inaccurate or incomplete;

(c) That we erase your Personal Data without undue delay if we no longer need to hold or process it;

(d) To object to any automated processing that we carry out in relation to your Personal Data;

(e) To object to our use of your Personal Data for direct marketing;

(f) To object and/or to restrict the use of your Personal Data for purpose other than those set out above unless we have a legitimate reason for continuing to use it;

(g) That we transfer Personal Data to another party where the Personal Data has been collected with your consent or is being used to perform contact with you and is being carried out by automated means.


11.3 Any request from you for access to or a copy of your Personal Data must be in writing, and we will endeavour to respond within a reasonable period and in any event within one month in compliance with data protection legislation. We will comply with our legal obligations as regards your rights as a data subject. If you would like to exercise any of the rights set out above, please contact us at the address below.





We operate in accordance with current UK and EU data protection legislation. If you have any concerns about our use of your information, you also have the right (as a UK resident) to make a complaint to the Information Commissioner’s Office (ICO), which regulates and supervises the use of personal data in the UK, via their helpline on 0303 123 1113 – see





13.1 Our Privacy Policy may be subject to change at any time. Any changes we make to our policy in the future will be posted on this page and, where appropriate, notified to you by e-mail. Please check back frequently to see any updates or changes to our policy.





If you have any requests regarding this Privacy Policy or wish to make a further request relating to how we use your Personal Data as described above, please contact our Data Protection Manager by e-mail at

Where temptation and curiosity meet vulnerability and naiveness.

Artist Felix Treadwell is aware about the vast and powerful world we exist in, and paralleling to this setting, his teenage characters are confronted with a sense of danger – in which they encounter mystical beings and feel guilty for something terrible, yet still go ahead in doing it anyway. The tone of work that Felix is producing for his Degree Show at RCA is getting more obscure, and he’s recently started to bizarrely form text through symbols and forms. The result is a mystical blend of “cute” and “dark” in which vulnerable and youthful characters tap through the different stages of adolescence life. To find out what makes Treadwell’s narrative so engaging, we visited his studio and learned about how he re-processes drawing into new works, which tools he uses to create soft yet physical beings, and even how his creatures and scenery is based on phone emojis.


Has growing up in a rural town near Brighton fed your characters/narrative? And are these stories growing as you are, adapting to your surroundings and cultural references?

Definitely, all the characters that appeared in my works up until last year were based on people I’d grown up with or seen. The subjects and locations of the works now are mostly the same, but perhaps slightly more ambiguous. I want them to all be relatable in someway.

Your education varies from studying in London, at both Camberwell College of Arts and at The Royal College of Art and in Japan at Kyoto Seika University. How have these culture clashes influenced your practice?

All of the schools have helped me develop my work, and whilst I was only in Japan for around a year, I became friends with Japanese painters and manga artists who definitely had an influence on my practice. The only difference I felt in Japan was the teachers emphasis more on technique rather than the concept first. That approach to painting was definitely refreshing compared to studying in London.

Drawings are significant in both the process of your works – in the form of sketches, and in the final works – in which several of your initial sketches are mounted to create a collaged piece. Can you expand on your use of reprocessing your drawings?

The drawings and sketches have always been crucial to how I make my work, and I’ve always wanted to display them, but struggled to find ways to present them best. Creating collages with the drawings allows me to add narratives and layers between the drawings that also feed into the stories and designs behind the other paintings. I’m interested in their ability to form a new artwork when being combined in a collage – rather than just being archival.

In terms of the configuration of your pieces, the viewers are confronted to read between close ups and cropped-out panels with no apparent order in these arrangements choosing whether to read the narrative from top to bottom or horizontally. Are you interested in confusing the viewer by using a non-linear rhythm in your compositions?

In the past years,  the paintings have followed a conventional panel layout, similar to Western comics, however recently I’ve wanted the works to act more like how you read a painting, being able to approach the work from any part or panel, and work your way through from there, and still make sense.

It seems that your use of the airbrush is very precise and detailed yet uneven at the same time, being a significant instrument in your working process. How and why did you start using this tool?

It’s become an effective way of forming objects and characters in the paintings, allowing me to emphasise forms or subjects using light and shadows, which the airbrush is great at. It also has a softness, which I feel helps the characters feel more vulnerable or tangible.

Apart from the airbrush, you are inclined in using very rustic and traditional mediums such as clay, paper maché, or even wood blocks. Can you tell us about these machine made vs. hand-made contrasts in your use of mediums?

While the quality of the paintings is very soft, I feel like the world I’m trying to create needs aspects with more physicality, using democratised materials such as paper (paper maché, wooden panels, crates) and clay, materials I’ve used since I was a kid. Trying to depict the symbols and icons from the paintings and drawings with clay and paper can often be challenging, but it sometimes can become more interesting than the drawing/painting was in the first place.


Your works often portray recognisable characters such as Rupert, who is often pointed out as a self-referential figure. Lately, this protagonist is not depicted in your works. Have you decided to kill him? If so, why?

He was fun to portray at the time, but over time I fell out of love with his stories, and felt I need to refresh the world, so I looked at other caricatures I could base the works on. He’s dead for now, but who knows, he may come back. He’s actually got a toy made of him, so I guess thats enough of him for now.

Most lately, there is a sense of danger imminent in your works – your characters have become more mystical, and the tonalities used to depict them have become obscurer. Are you interested in exploring the line between cute and dark?

The teenagers are all supposed to be vulnerable and naive, using symbols or textures to imply fear and the unknown have helped me get closer to that line between cute and sinister tones. The larger world they exist in is vast and powerful, like ours, they are very precarious.

Youve recently completed your first text-based work. What can you tell us about Its So Wrong But Feels So Right? Does this text-piece serve as a clue of the narrative within your visual works?

Over the past few years, I’ve been trying to add text in the works, but it never worked, and became clunky and jarring. Forming text through symbols and forms has helped me deal with this, also adding a new meaning to the phrases that I’m creating. That particular work was again about temptation and curiosity that the character in the other paintings is going through, that I hope we can all relate to. There’s been something we feel terribly guilty of doing, but we’re going to do it anyway. Take it how you want..

We spoke a lot about Internet culture in our recent studio visit. Can you expand on how this culture shapes your practice, and on your use of emojis, for example?

It might not seem clear at first, but nearly all of the creatures and scenery is based on phone emojis. I want the characters to be surrounded by these aspects taken from Internet culture. I guess, its like a reflection of society for teenagers in our time. The symbols of internet culture, whether they’re phone emojis or whatever, interweave with the narratives of the adolescents in the paintings.

You refer to comics as a tool for creating a world which is believable interesting. Are your works becoming less about depicting the actual world, and more about exploring dreamlike or surreal settings?

I don’t mind the world becoming more fantastical or surreal, as long as the works can still function to run parallel to our own world, and reflect adolescence in a new way, then I’m happy.

You have recently completed a two-week residency at L21 Gallery, Mallorca, Spain. How have you responded to this setting within your works?

I was working a lot and I hardly had time to leave the studio while there, so unfortunately, I didn’t get to see much. The works were based mostly on drawings I made in the few weeks prior to going to Mallorca. It was great to meet the director, Oscar Florit, as we had some good and honest chats about what was and wasn’t working in the paintings, and what would feel right for the show and the space.


You are currently preparing for your MA Painting degree show at the Royal College of Art. How has your work developed during your time at the RCA, and what are the next projects in mind once you finalise your degree show?

Its been really helpful studying at the RCA. Before I started, I had no idea what I wanted to make and had no confidence showing my works to people. Making friends there with other students and tutors has helped me push myself, allowing myself to take risks and experiment with new materials and media. It was tough at times, but you learn from that, and it will help push your work further. After the Degree Show I have no idea, I’m still making the final painting for it! I’ll let you know when I’m there!


Words by Vanessa Murrell


Felix Treadwell

India Nielsen

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